The comparative method we would like to present here, through a Sama Dilaut kata-kata and an Ifugao hudhud, focuses on the epos as a score and attempts to analyze the multimodal relationships inherent to tlus "genre" in two epics of the Philippines archpelago, at the poetic, rhythmic, melodic, praxemic, semantic and narrative levels. Here we are in a strict oral tradition. We shall describe and analyze the performance of the singers of tales, the musical, vocal or verbal accompaniement, the mental text and melodies mastered by the performer in h s singing body, and the semi-formulaic style of the chorus, tlus thought in motion during the p~oferatio. After the musical analysis, we shall attempt to clarify the relationshp between music and narrative during the performance. We aim at showing the interrelations between music and narrative in two very distinct cultures and societies of the Phlippines and to bring out their respective feature
